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IMAGE  EVALUATION 
TEST  TARGET  (MT-3) 


1.0 


I.I 


11.25 


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mmm22 

1^    12.0 


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CIHM/ICMH 

Microfiche 

Series. 


CIHIVI/ICIVIH 
Collection  de 
microfiches. 


Canadian  Institute  for  Historicai  IMicroreproductions  /  institut  Canadian  de  microreproductions  historiques 


Technical  and  Bibliographic  Notes/Notes  techniques  et  bibliographiques 


The  Institute  has  attempted  to  obtain  the  best 
original  copy  available  for  filming.  Features  of  this 
copy  which  may  be  bibliographically  unique, 
which  may  alter  any  of  the  images  in  the 
reproduction,  or  which  may  significantly  change 
the  usual  method  of  filming,  are  checked  below. 


Q 


Coloured  covers/ 
Couverture  de  couleur 


I      I    Covers  damaged/ 


Couverture  endommagde 

Covers  restored  and/or  laminated/ 
Couverture  restaurie  et/ou  pellicula 

Cover  title  missing/ 

Le  titre  de  couverture  manque 

Coloured  maps/ 

Cartes  g^ographiques  en  couleur 

Coloured  inic  (i.e.  other  than  blue  or  black)/ 
Encre  de  couleur  (i.e.  autre  que  bleue  ou  noire) 

Coloured  plates  and/or  illustrations/ 
Planches  et/ou  illustrations  en  couleur 

Bound  with  other  material/ 
Relid  avec  d'autres  documents 


D 


D 


D 


Tight  binding  may  cause  shadows  or  distortion 
along  interior  margin/ 

La  re  liure  serrde  peut  causer  de  I'ombre  ou  de  la 
distortion  le  long  de  la  marge  int^rieure 

Blank  leaves  added  during  restoration  may 
appear  within  the  text.  Whenever  possible,  these 
nave  been  omitted  from  filming/ 
II  se  peut  que  certaines  pages  blanches  ajouttes 
lors  d'une  restauration  apparaissent  dans  le  texte, 
mais,  lorsque  cela  itait  possible,  ces  pages  n'ont 
pas  dt4  fiim^es. 

Additional  comments:/ 
Commentaires  suppl^mentaires; 


L'Institut  a  microfilm^  le  meilleur  exemplaire 
qu'il  lui  a  6X6  possible  de  se  procurer.  Les  details 
de  cet  exemplaire  qui  sont  peut-dtre  uniques  du 
point  de  vue  bibliographique,  qui  peuvent  modifier 
une  imago  reproduite,  ou  qui  peuvent  exiger  une 
modification  dans  la  mithode  normale  de  filmage 
sont  indiqute  ci-dessous. 


Th 
to 


D 

D 
D 

m 

El 
D 
D 
D 

n 


Coloured  pages/ 
Pages  de  couleur 

Pages  damaged/ 
Pages  endommagdes 

Pages  restored  and/or  laminated/ 
Pages  restaurdes  et/ou  pelliculdes 

Pages  discoloured,  stained  or  foxed/ 
Pages  d^colortes,  tachet6es  ou  piqudes 

Pages  detached/ 
Pages  d6tachdes 

Showthrough/ 
Transparence 

Quality  of  print  varies/ 
Quality  in^gaie  de  I'impression 

Includes  supplementary  material/ 
Comprend  du  materiel  suppl^mentaire 

Only  edition  available/ 
Seule  Mition  disponible 

Pages  wholly  or  partially  obscured  by  errata 
slips,  tissues,  etc.,  have  been  ref limed  to 
ensure  the  best  possible  image/ 
Les  pages  totalement  ou  partiellement 
obscurcies  par  un  feuillet  d'errata,  une  pelure, 
etc.,  ont  6t6  filmtes  d  nouveau  de  fapon  d 
obtenir  la  meilleure  image  possible. 


Th 
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of 
fill 


Or 
be 
th( 
sio 
oti 
fin 
sic 
or 


Th 
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Tir 

w^ 

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This  item  is  filmed  at  the  reduction  ratio  checked  below/ 

Ce  document  est  film6  au  taux  de  reduction  indiqu*  ci-dessous. 

10X  HX  18X  22X 


12X 


16X 


20X 


26X 


30X 


y 


24X 


28X 


32X 


Tha  copy  filmed  har*  hat  baan  raproducad  thanks 
to  tha  ganarotity  of: 

Library  Division 

Provincial  Archives  of  British  Columbia 


L'axamplaira  film*  fut  raproduit  grica  k  la 
gAnArosit*  da: 

Library  Division 

Provincial  Archives  of  British  Columbia 


Tha  imagas  appaaring  hara  ara  tha  bast  quality 
possibia  consldaring  tha  condition  and  lagibility 
of  tha  original  copy  and  in  kaaping  with  tha 
filming  contract  spacifications. 


Original  copias  in  printad  papar  covars  ara  filmad 
beginning  with  tha  front  cowar  and  anding  on 
tha  last  paga  with  a  printad  or  illustratad  impras- 
sion,  or  tha  back  covar  whan  appropriata.  All 
othar  original  copias  era  filmad  beginning  on  the 
first  page  with  a  printed  or  illustrated  impres- 
sion, and  ending  on  the  last  page  with  a  printed 
or  illustrated  impression. 


The  last  recorded  frame  on  each  microfiche 
shall  contain  the  symbol  -^  (meaning  "CON- 
TINUED"), or  the  symbol  ▼  (meaning  "END"), 
whichever  applies. 

Maps,  plates,  charts,  etc.,  may  be  filmed  at 
different  reduction  ratios.  Those  too  large  to  be 
entirely  included  in  one  exposure  are  filmed 
beginning  in  the  upper  left  hand  corner,  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  follovfing  diagrams  illustrate  the 
method: 


Lea  images  suivantea  ont  AtA  raproduites  avac  la 
plus  grand  soin,  compte  tenu  de  la  condition  at 
de  la  nettet*  de  rex^mplaira  film*,  et  en 
conformit*  avac  las  conditions  du  confrat  d« 
filmage. 

Lea  exemplaires  originaux  dont  la  couvarture  en 
papier  est  imprim*e  sont  film*s  en  commenQant 
par  la  premier  plat  et  en  terminant  soit  par  la 
darni*re  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration.  soit  par  la  second 
plat,  salon  la  cas.  Tous  las  autras  exemplaires 
originaux  sont  film*s  9n  commenpant  par  la 
premiere  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration  at  en  terminant  par 
la  derni*re  page  qui  comporte  une  telle 
empreinte. 

Un  des  symboles  suivants  apparaitra  sur  la 
derni*re  image  de  cheque  microfiche,  selon  le 
cas:  le  symbole  ^^  signifie  "A  3UIVRE",  le 
symbole  ▼  signifie  "FIN". 

Les  cartes,  planches,  tableaux,  etc.,  peuvent  *tre 
film*s  *  des  taux  de  reduction  diffirents. 
Lorsque  le  document  est  trop  grand  pour  Atre 
reproduit  en  un  seul  clich*,  il  est  film*  *  partir 
da  I'angle  sup*rieur  gauche,  de  geuche  *  droite, 
et  de  haut  en  bas.  en  prenant  le  nomore 
d'imagas  n*cessaire.  Les  diagrammei  suivants 
illustrent  la  m*thode. 


1 

2 

3 

1 

2 

3 

4 

6 

6 

■P 


^»^ 


"The  Largest  and  most  important  organization  that  travels 
this  season  is  the  Emma  Jiich  Grand  English   Opera  Company. 
iN.  Y.  World,  Aug.  15,  1889. 


*.."-^---% 


THIE 


EMMA  JUCH 


Q 


< 
O 


m 


r 

CO 


•'■i\V 


OPERA    COMPANY 


L'NDKR  THK   niRKCTION  OF 

CHAS.  E.  LOCKE. 


THe 


GRAVID  ENGblSH  OPERA   C0JVIPA|MY. 


PROSPeCTUS. 


Aiiiiniiii.vm.iit  is  ii'spfc  tliilU  m.i.lr  111  ,1  -faxin  m|  (.i.mhI  Opera  -.i.iii;  ni  tlir  1mi^;1i>1i  1  ..mj^ii.n^c,  and 
llial  ill.  l..ri;<-  ,-(.miMnv  ni  adiiui  al.lc  oin'iMlic  arliM^  .•n^a.i---<i  vvill  lie  lu.Kl.d  l,v  llio  |hi  rlfs.^  AiinTicaii 
prima  iIciiim,  Mjss  Kmm a  ]\  <  ii.  Tlic  t)ril!ianl  achifvriiictit-,  ct  this  lamoiis  sinj^'cr  in  tlic  iimIiii  hC  I.ii_i;lisli 
Opera  i>  a  iiialtcr  ot  the  mot  r.>»nt  imisii-al  liistory.  Tli''  llioimands  who  liavf  oi't-n  moved  l)v  licr  ideal 
portrayals  oi  /•./>,/  m  ■  l.iilHii!;rin,  '  S<  >t/,i  in  "riu-  !•  I\iii.;  Dm.  hmaii.  "  luindi,  r  m  "()ri)lieiis, "  and 
(hn.ta  in  •'  Neio  '  will  rejoice  at  the  opportunity  now  pixseiited  oflieariiii;  Miss  |iirh  tor  the  Inst  limi-  in 
r.ni;lisli.  in  ■CarnK'n.'  'Miynoii'  (ii/ifa  in  •' Riy<  Jeito,"  /rwwr  in  •William  Tell."  c  y/,//,/-///,'.  the 
nusihirv.ms  pai;e  in  •  The  Marria^<-  of  l-ii^raro, "  .h/i,tii  in  ■The  llohemian  l.irl,"  ./i,'///a  m  "Der 
I-reisi  hut/  '  and  ..iher  roles  lo  whicii  this  true  artiste  will  lend  those  trhariiH  oi  pt  isoiialitv  and  \()i<e  lor 
wlii.h  she  is  jiislK  rennwn.d  and  beloved  thmii^hoiit  the  land.  Probahlv  no  sint^er  ot'tiie  present  decade 
has  ai(|uiied  he  place  m  the  hi.ui-  i.tthe  public  th..t  Miss  juch  has  i)y  !ier  unequalled  impersonation  of 
Mat'^iit) iti   in  '    Imusi. 

The  lari;e  company  ol  artists,  can  liilly  selected  Iruin  both  America  aiui  Mu  rope,  with  the  object  o' 
seciirinj^  to  the  public  the  toretnost  Kni^dish  siiiijini^  exponents  (.1  the  roles  to  be  inter[)relcd,  i-  contidentlv 
presented  as  beint;  nearly  perled.      S.-veral  ..l  the  artists  have  both  loreii^n  and  American  reputations. 

Adolph  Xeiiendori,  the  musical  director,  is  one  ol  the  most  lamous  conductors  ol  America,  in  whose 
mtelhijent  i^rasp  the  le.ider's  b.ttoii  is  admir.ibly  jjhued  His  compositions  r.ink  hiyhlv  with  musicians. 
His  cu-cer  as  lust  ..lududor  in  ni.in\- ot  the  niuMi  centres  oi' Imii o])e  uid  .America,  well  (|ualities  liim  lor 
his  new  and  responsible  |)osilioii. 

I  he  <horus  IS  l.iri(«  and  i  onijio:  ed  ol  .uubitioii^  youni;  women  and  youiij;  men.  Tiie  tresh  tpialitv  ol" 
th<'  voices,  rheir  marvelous  .}f/a./i,:,  and  the  ta<i  ihil  thev  ,ire  American  have  been  approvingly  com- 
mended. 

A  new  i'lsiruuient.il  .iiL;ani/.ition  ha-^  been  loriiud  under  the  baton  ol  ('.inductor  Neuendort'f,  whi<-h 
will  b<  permnientK  known  .i-  the  Kmm.i  ludi  ')|pcr.i  Orchestra.  It  is  composed  ol' well-known  solo  instru- 
ment.ili.sts,  selected  irom  the  Ic.idiiii;  .New  N'Mrk  oicheslias.  This  atlmir.ible  orchestra  accomi)anies  the 
"fHaili/alion. 

Hie  w/>  .  ;/-wvv,  which  h.i>  been  piep.u'ed  tor  e,r  h  work  in  the  /  v/>. ; /c/zv,  is  ol'  the  most  correct  and 
sumptuous  ch.iracter.  I'he  alino^i  t  xhaiistlcss  losourres.  inciilent  to  the  pos.sessiou  bv  the  I  )iri;ctor  ol  this 
(  omp.in\-,  ol  the  entire  pi. nil  Ol  the  .\mericau  .ind  .\  ition.d  0|)era  Companies,  supplemented  bv  lavish 
I  .Npenditures  lor  new  costume--  iiid  eltects  en.ible  ihe  ui.maj^enient  to  provide  entirely  .idccjuate  sta^e  deco- 
ration. It  is  i|iiite  wuhm  the  bounds  ol  truth  to  st.Ue  that  ihe  jierlot  niances  ol  the  oi)er,is  in  the  irf^cr/oirf 
ol  the  l.mina  jndi  Knjjlish  Oper.i  Coniijanv .  have  never  been  eipialcd  in  this  counirv.  as  to  casts,  orches- 
tra, dioru-.,  costumes,  properties,  sceiierv,  ,uid  electrical  and  other  novel  etVects. 


The  Celebrated  Steinway  Piano  used  by  The  Emma  Juch  Grand  English  Opera  Company. 


The  Emma  Jugh  English  Opera  Season 


CHAt^UES  E.  UOGKE,  Dineetop 

Associate  Manager,  J.  CHARLES  DAVIS, 


VICTORIA  THEATRE 

VICTORIA.  B.C. 

JOHN  JOEL  AUSTIN,  Manaeer 

The  Management  has  the  honor  to  announce  a  brief  season  of  Grand  Eii^/is/i  Opera  and  lakes  pride  in 

presenting  to  the  Opera-loving  ptihlic  of  Victoria  and   Vicinity  t/ie  Hmma  Jiuh   (iranJ 

English   Opera   Company  in  the  following   popular    operatic   7vorlcs 

produced  after  months  of  careful  preparation  and  lavish 

expenditures  for  the  niise-en-scenc. 

Begi  -n  -n  i  TLg'  IMZoixcia^r,  IFelD.  IV^  'QO 

WEDNESDAY    MATINEE 
FOUR  PERFORMANCES  OF 

GRAND  OPERA  IN  ENGLISH 


SCHEDULE  OF  PRICES 


Re    >rved  Seats 
Boxes 


For  Particulars  as  to  Sale  of  Tickets  see  Daily  Papers 


$2.00  and  $1.00 
$25.00 


RAILWAY   ARRANGEMENTS    will    be   made   by    which   all    late  trains  will  be  held  every  evening  during  the  season 
allowing  ample  time  to  reach  depots  aftes  the  opera  performance. 


LIBRETTO   NOTICE 

The  public  is  respectfully  notified  that  the  new  Libretti  of  the  Emma  fuch  Grand  English  Opera  Com- 
pany are  especially  translated  and  coincide  exactly  xvith  the  performances  of  the  different  operas. 

These  boohs  can  be  obtained  only  at  the  Offices  ivhere  seats  for  the  opera  are  sold  and  within  the  audi- 
torium where  the  performances  take  place.     Price  twenty -five  cents. 


The  Celebrated  Steinway  Piano  used  by  the  Emma  Juch  Grand  English  Opera  Company 


/ 


*    TH©    <«■ 


Eini  J6H  EHIiLISjl  OPEBD  SEOSOU 

•f        -f        15S9-1590        f        f 


The  Strength  of  the  lyist  of  Principal  Singers  and  Artistic  Arrangements  will  be  seen 

from  the  following  annonncements  : 


SOPRHNOS. 
BMMA    JUCH 

GEORGINE  VON  JANUSCHOWSKY 


SUSIE  LEONHARDT 


CONTRHL-TOS. 

LIZZIE  MACNICHOL  FANNY  GONZALES 


CHARLES  HEDMONDT 


xeisoRs. 

FRANK  FIERI 


ELVIN  SINGER 


BHRITONES. 

GIOVANNI  TAGLIAPIETRA  WILLIAM  BOTT 


FRANZ  VETTA 


BKSSOS. 

E.  N.   KNIGHT 


T.  S.  GUISE 


1 1 


,V 


THE  EMMA  JUCH  GRAND  ORCHESTRA  OF  SELECTED  INSTRUMENTALISTS 

THE  EMMA  JUCH  GRAND  CHORUS  OF  TRAINED  VOICES 


Musical  Director, 


ADOLPH  NEUENDORFF 


^     RERERTOIRe    ^ 

CARMEN— Bizet. 

MIGNON— Thomas. 

FAUST— Gounod. 

MERRY  WIVES  OF  WINDSOR— Nicolai. 
THE  HUGUENOTS     Meyerbeer.  DER  FREISCHUTZ— Weber. 

WILLIAM  TELL— Rossini.  THE  TRUMPETER— Nessler. 

THE  POSTILLION  OF  LONJUMEAU— Adam. 
THE  BOHEMIAN  GIRL— Balfe. 
RIGOLETTO— Verdi.  IL  TROVATORE— Verdi. 

THE  MARRIAGE  OF  FIGARO— Mozart.  SYLVANA— Weber. 

THE  MEISTERSINGER— Wagner.  MARTHA— Flotow 

THE  FLYING  DUTCHMAN— Wagner. 

THE  BARBER  OF  SEVILLE— Rossini. 

MARIT  ANA— Wallace. 

The  Celebrated  Stelnway  Piano  used  by  the  Emma  Juch  Grand  English  Opera  Co. 


The  Emma  Jugh  English  Opera  Season 


iaae-i8oo 


REPERTOIRE 


i  ' 


Monday  Evening,  Feb.  nth,  1890, 
FAUST. 

A  Lyric  l)raiiia  in  Five  acts  by  Ciias.  (Iounod.     Miss  Jiicii's 

first  appearance  in  this  city  as  Marguerite. 

Kngliah  words  by  Messrs,  Cliorley  ami  JulinsDn. 

faiisl. Charles  llecbnondt 

Valentine (iiovanni  Ta^'liapielra 

Mephistopheles Kratiz  \'etta 

Brander .T.  S.  (iiuse 

^"hel Lizzif  Macnicliol 

Martha Susie  Lconhardt 

Marguerite. EMMA  JUCH 

Chorus — Students,  Soldiers,  People,  etc. 

ACT  r        Faust's  Studio— the  Compact. 

ACT  II      Kirmesse— The  Fair. 

ACT  III    TheCJarden  Scene. 

ACT  IV      The  Desertion— Soldiers' Chorus     Dealh  of  Val.'u- 

tine^Churoh  Scene. 
ACT  y        Tlie  Prison  .Scene. 


Tuesday  Evening,  Feb.  ISth,  1890, 
THE  FREISCHUTZ. 

A  Romantic  Opera  in  Three  Acts  by  C.\Rr,   Makia  von  Wkii- 

HKR.     Mi.ss  Juch's  first  appearance  in  this  city  as  Agnes. 

With  Novel  and  Startling  Electrical  F.ffects. 

Prince  Ottokar T.  S.  Guise 

Cuno,  Head  Ranger E.  N.  Kiiitrh; 

Rodolph  \        Two  young  Foresters  setving        (    Elvin  Singer 
Caspar,    /  under  him,  \     Franz  Vetta 

Kilian,  a  Peasant T.  S.  Guise 

A  Hermit Thomas  Hott 

Zaniiel,  Dramatic  Character  Frank  Picri 

Agnes,  Cuno's  Daughter (ieorgine  von  Januschowsky 

Annie,  her  Cousin Susie  Leonhardt 

Chorus— Hunters,  Peasants,  Bridesmaids  and  Invisible  Spirits. 
The  scene  is  laid  in  liohemia  after  the  seven  years'  war. 


Wednesday  Afternon,  Feb.  19, 1890, 
THE  BOHEMIAN  GIRL. 

Popular  GramI  Opera  in  Three  Acts  liy  M.  W.  Halkk. 

Count  Arnlieim,  <  iovernor  of  I'reasburg Franz  Vetta 

Thaddeus,  a  Pirscribed  Pole Elvin  Singer 

Floreslein,  Nephew  of  the  t^ount Frank  Pieri 

Devilshoof,  Chief  of  the  (Jipsies E.  N.  Knight 

Captain  of  the  Guard T.  S.  (uiise 

< Jucen  of  the  CJipsies I  .izzie  Macnichol 

Ailine,  Daughter  of  the  Cotmt.  .  .  .tleorgine  von  Januschowsky 

Chorus — Nobles,  Soldiers,  (iipsies.  Retainers  and   Pea.sants. 

.Scene— Pressburg,  on  the  panube,  and  vicinity. 


Wednesday  Evening,  Feb.  19, 1890, 
CARMEN. 

Ronnntic   Opera   in  Three  Acts  by  (Ieokces   Hizf.i'.     .Miss 
Juch's  first  appearance  in  this  city  as  Carmen, 

Carmen,  a  Cigarette  Girl,  afterwards  a  (Jipsy,  EMMA  JUCH 

Michaela,  a  Peasant  Girl "Georgine  von  JanMschow.sky 

Mercedes,    )    ,..     .        «  •      ,      e  ^■<  i    Lizzie   Macnic^hol 

K,o  „„;..,     f  Gipsies,  Friends  of  Carmen,    {    7-     .      '"''^""-"'" 
hrascputa,   )        '        '  •    \    Susie    Leonhardt 

Don  Jose,  a  lirigadier Charles   llcdmondt 

Escauiillo,  a  Toreador Giovanni  Tagliapielri 

II  Doncairo,       Um„.r„i,.,.,  /    FIvin  .Singer 

II  Remen.lado,  \ ■"^'""USl'^^f^ (      i.,ank  Pieri 

Zuniga,  a  Captain E.  N.  Knight 

Morales,  a  Brigadier T.  S.  Guise 


T^T^n     J  U  C  H  . 


J"' 


[Motrnpnlitan  Review,] 

A  recital  of  the  incidents  in  the  career  ol  this  younjj  cantatrice  would  fill  a  volume  and  unfold  an  inter- 
esting story  of  the  endeavors  of  a  brave  girl  seeking  self  im|)rovement  and  a  high  standard  in  musical  art. 
Nature,  notwithstanding  her  muniticence  in  other  directions,  vouchsafes  to  few  the  ultimate  genius  of  song. 
Among  those  thus  gifted,  Miss  Juch  has  won  for  herself  a  commanding  position  and  now  ranks  as  the  fore- 
most American  soprano  upon  both  operatic  and  concert  stages. 

Born  in  Vienna  during  a  visit  to  that  city  by  her  parents,  who  were  citizens  of  the  United  States,  called 
abioad  to  testify  in  a  suit  involving  an  estate  (left  the  Juch  heirs  by  their  grandfather,  General  von  juch  of 
the  Austrian  army),  the  little  Emma  was  brought  back  to  America  when  scarcely  two  years  old.  To  quote 
Harper' s  Weekly  of  January  9th,  18S6,  "Anu-rica  may  fairly  forgive  Miss  Juch  for  coming  into  the  world 
abroad  since  she  was  sutificiently  patriotic  to  be  born  on  the  Fourth  of  July.  '  As  come  the  priceless  tapes- 
tries in  the  ateliers  of  the  Gobelins  only  from  the  hands  of  those  artists  the  father  and  grandfathers  of  whom 
have  in  preceding  generations  plied  the  matchless  looms,  so  only  the  fruit  of  the  muses  ripens  in  one  the 
ancestors  of  whom  have  prepared  the  soil.  The  passionate  blood  of  Italy  mingled  with  that  of  Austria  in 
the  veins  of  Justin  Juch.  He  was  inventor,  artist,  musician,  and  from  the  famous  Von  Juch  inherited  indom- 
itable will  and  lofty  ambition.  From  the  French- Hanoverian  mother  Emma  Juch  unquestionably  received 
the  gift  of  voice,  for  the  exquisite  singing  of  her  maternal  grand-dame  is  one  of  the  traditions  of  the  family. 
With  a  perversity  that  almost  broke  the  spirit  of  the  little  Emma,  the  father  refused  to  permit  her  to  follow 
the  dictates  of  nature  and  study  to  become  a  singer.  With  a  determination  equal  to  that  of  her  parent,  she 
worked  in  secret,  and  finally  was  asked  to  appear  at  a  "pupils'  concert."  The  unusual  preparations  at 
home  awakened  the  father  to  the  truth  as  to  the  nature  of  the  occasion,  and,  much  to  the  consternation  of 
the  young  songstress  and  lu-r  assisting  relatives,  in  one  of  the  most  conspicuous  seats  sternly  sat  Mr.  Juch. 
Courage  returned  to  the  small  debutante  as  she  gazed  across  the  footlights,  and  her  resolution  to  succeed 
and  win  even  her  father,  was  as  definite  and  inflexible  as  the  military  mandates  of  the  old  General  von  Juch. 
Emma's  triumph  was  (|uite  complete.  The  Neiv  York  //era/d  said  :  "The  principal  feature  of  the  concert 
was  the  singing  of  little  Muss  Juch.  She  has  a  rich,  pure  soprano  voice,  extensive  of  range  and  great  power. 
She  executes  the  most  florid  i)a.ssages  with  artistic  skill  and  possesses  all  the  qualifications  of  a  brilliant  artist." 
The  father  arose  from  his  seat  and  left  the  hall.  Upon  reaching  home  he  folded  Emma  in  his  arms  and 
wept,  upbraiding  himself  for  his  blindness  and  neglect.  From  that  time  Mr.  Juch  devoted  his  life  to  training 
his  daughter's  voice.  For  two  years  no  singer  ever  passed  through  severer  discipline.  Miss  Juch  is  indebted 
to  her  father's  rigid  schooMng  for  that  charming  quality  of  voice  likened  to  a  silver  bell.  The  possession  of 
an  unfailingly  even  tone,  bird-like  execution,  intelligent  phrasing,  distinct  pronunciation,  pathos,  passionate 
declamation,  and  charming  stage  manners  form  a  unique  cluster  of  gifts. 

Mme.  Murio-Celli  early  recognized  the  talent  of  the  girl,  and  gave  to  Miss  Juch  that  training  for  a  suc- 
cessful operatic  career  which  her  large  experience  made  her  peculiarly  able  to  impart. 

In  May,  1 88 1 ,  when  she  was  not  yet  eighteen  years  of  age,  Emma  Juch  was  engaged  for  leading  soprano 
roles  in  Her  Majesty's  Clr  ind  Italian  Opera,  in  London,  under  the  direction  of  CoL  Mapleson.  In  June, 
1881,  she  made  her  debui  as  Felina  in  Thomas's  "  Mignon,"  and  continued  her  success  as  Gilda  in  Verdi's 
"Rigoletto,"  (^ueen  of  Night  in  Mozart's  "Magic  Flute,"  Martha  in  Flotow's  melodious  opera  of  that 
name.  Marguerite  in  "  P'aust,"  the  Queen  in  "  Les  Huguenots,"  and  Isabella  in  "  Robert  le  Diable."  She 
continued  with  Col.  Mapleson  during  three  seasons  with  unvarying  success.  Her  work  was  of  the  most 
arduous  character.  Obstacles  that  would  have  crushed  a  less  resolute  girl  melted  into  air  before  the  calm 
determination  of  this  young  American.  Disraeli  wrote  :  "The  greatest  advantage  a  writer  can  derive  from 
music  is  that  it  teaches  most  exciuisitcly  the  art  of  development."  The  same  law  applies  to  the  studious 
singer.  .She  advanced  raj)idly,  and  when  convinced  that  Italian  opera  offered  no  further  progressive  work, 
she  took  advantage  of  a  lapse  of  contract  committed  by  the  impressario. 

Shortly  thereafter,  having  been  favorably  brought  to  the  attention  of  Theodore  Thomas  by  Mr.  William 
Steinway,  she  accepted  an  offer  from  Mr.  Thomas's  manager  to  share  the  arduous  duties  imposed  upon 
Mmes.  Nilsson  and  Materna,  on  the  famous  tour  of  the  Wagner  artists — Materna,  Winkelman  and  Scaria. 
Miss  Juch  alternated  with  Mme.  Nilsson  in  singing  the  role  of  Elsa  in  "  Lohengrin."  Her  fresh,  sympa- 
thetic voice  fascinated  all.  Since  that  time,  in  the  tnree  seasons  of  grand  opera,  thousands  have  been  tnrilled 
and  touched  to  tears  by  the  ideality,  pathos  and  poetic  beauty  of  her  renclering  of  Elsa.  So  thoroughly  did 
she  deserve  the  plaudits  given  her  throughout  that  famous  tour  of  Wagner  music,  that  Mr.  Thomas  has 
since  intrusted  the  young  artist  with  much  of  the  important  soprano  work  in  his  exacting  concerts.  She 
has  never  failed  the  confidence  placed  in  her  ability  by  the  great  conductor. 

After  the  inception  of  the  American  Opera  Company,  Miss  Juch  was  the  first  artist  engaged.  At  that 
time  Dr.  Leopold  Damrosch  also  endeavored  to  secure  her  for  the  Metropolitan  Opera  House.  London 
and  German  impressarios  offered  most  favorable  conditions.  All  were  refused,  to  sing  in  the  National  Opera. 
Her  admirable  work  in  that  enterprise  had  greatly  to  do  with  the  noble  standard  in  excellence  of  represen- 
tations for  which  it  became  so  famous.     In  the  three  seasons  Miss  Juch  sang  in  six  roles  one  hundred  and 


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The  Celebrated  Steinway  Piauo  used  by  The  Emma  Juch  Grand  English  Opera  Company, 


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sixty-four  times,  asfuilows:  Paminu,  "  Magic  Flute,"  l\fozart,  4  times  ;  Elsa,  "Lohengrin,"  Wagner,  23 
times  ;  Senta,  "  Flyinjj  Dutchman,"  Waj(ner,  2-j  times  ;  Eurydice,  "  OrpheuH,"  (rliick,  ay  times  ;  Clirysa, 
"  Nero,"  Kiibensltin,  35  times  ;  Marguerite,  "  Kaust,"  Cronnod^  4f)  times. 

Huiulrecls  of  columns  were  written  during  the  three  seasons  concerning  the  artist  in  the  above  roles. 
No  Patti  or  Nilsson  ever  inspired  happier  comment.  Could  less  mistakable  words  be  penned  or  more  en- 
thusia.stic  than  these,  from  the  Chicago  Sun :  "The  'Flying  Dutchman'  will  be  given  to-night  in  aid  of 
the  Hospital  for  Women  and  Children.  The  performance  will  be  uniler  the  patronage  of  Mrs.  Cleor^e  M. 
Pullman.  The  performance  will  be  welcome  because  of  Miss  Juch's  beautiful  conception  of  the  role  of  Senta. 
Miss  Juch  stands  in  the  front  rank  of  American  singers,  a  position  she  has  won  by  her  natural  talent,  aided 
by  persevering  and  honest  work.  She  has  been  singled  out  for  some  seasons  by  Mr.  Theodore  Thomas  as 
the  best  artist  to  render  vocal  solos  in  the  works  of  the  great  masters.  In  his  famous  Wagner  tour  she  fairly 
shared  the  honors  with  Nilsson  and  .Materna.  .She  is  the  most  realistic  soprano  before  the  public.  She 
has  never  disappointed  an  auilience,  and  that  siie  has  a  genius  for  st'idy  is  shown  in  the  position  that  she 
now  fills  as  prima  donna  of  the  American  Opera  Company.  Her  performances  of  Eurydice,  Senta  hnd 
Elsa  leave  nothing  to  be  wished  for  in  an  artistic  sense,  while  her  beautiful  personality  has  added  a  peculiar 
charm  to  her  performances.' ' 

Or  this  from  The  Season,  Newport :  "  '  The  Breakers'  presented  a  most  beautiful  ap|)earance  on  the 
occasion  of  a  most  delightful  musicale  given  by  Mr.  and  Mrs.  Cornelius  Vanderbilt  to  three  hundred  of  their 
friends.  Klunder  had  charge  of  the  floral  decorations  and  surpassed  himself  Miss  Juch,  of  course,  was 
the  bright  star  of  the  musicale,  and  the  radiant  youthfulnoss  of  this  beautiful  woman  was  never  more  fasci- 
nating than  when  surrounded  by  the  belles  of  Newport.  Miss  Juch  sang  the  Jewel  Song  from  '  Faust,'  and 
was  rapturously  applauded.  Later  in  the  evening  she  sang  Rubenstein's  '  Der  Azra,'  and  graciously  con- 
ceded an  encore,  Lassen's  'Thine  Eyes  so  Blue  and  Tender.'  Never  has  this  charming  artist  sung  more 
exquisitely,  and  never  have  tender  words  of  song  sunk  deeper  into  hearts." 

Or  this  by  "  Betsy  B."  in  the  San  Francisco  Argonaut :  "  Indeed  this  charming  Emma  Juch  grows 
upon  one  like  a  pleasant  spell.  There  is  a  winning  sweetness,  a  natural  girlishness  in  her  manner  that  is 
infinitely  prepossessing.  Perhaps  she  tits  better  into  the  simple  part  of  Senta  than  in  anything*else,  though 
many  find  her  Marguerite  to  be  Just  the  simple  German  maiden  that  Goethe  intended.  But  in  Senta  she  has 
just  that  quiet,  northern  intensity  that  would  stir  a  dreaming  girl's  heart  to  a  romantic  but  genuine  love  for 
the  melancholy  portrait  over  the  chimney-piece — for,  after  all,  it  is  the  picture  that  she  falls  in  love  with.  In 
this  she  does  not  differ  from  her  sex  south  ol  the  cold  belt,  for  it  is  not  the  real  man  that  any  woman  falls  in 
love  with,  but  the  picture  of  him  that  she  draws  in  her  own  mind.  Then,  too,  she  is  so  very  Norwegian 
looking  that  everything  about  her  takes  on  a  certain  northern  naturalness,  and  makes  one  imagine  fjords, 
and  midnight  suns,  and  all  sorts  of  Norwegian  things  just  outside  that  quaint  little  front  door.  And 
then  she  sings  so  well — so  very,  very  well — with  that  something  in  her  voice  to  make  her  one  of  the  great 
singers  of  the  world — a  purity  of  style  and  an  excellence  of  method  that  are  as  refreshing  as  mountain  water 
in  tne  parching  atmosphere  of  noon  day  heat." 

It  was  at  the  end  of  the  third  act  of  the  first  performance  of  ' '  Lohengrin  ' '  by  the  American  Opera  Com- 
pany in  New  York,  that  by  ihe  falling  of  a  heavy  piece  of  iron  the  career  of  Emma  Juch  came  near  closing 
in  a  horrible  death.  The  great  music  drama  was  near  the  finale.  After  recovering  from  the  unconscious- 
ness caused  by  the  cruel  blow,  she  insisted  upon  finishing  the  performance,  and  upheld  by  two  women  of 
the  chorus,  her  golden  hair  matted  and  dripping  with  blood  from  the  wound,  she  sang  every  note  that 
remained  to  be  sung  of  the  role.  The  death-faint  into  which  Elsa  sinks  as  "  Lohengrin  "  forever  departs, 
on  this  occasion  was  real.  At  the  fall  of  the  curtain  Miss  Juch  was  carried  from  the  stage  apparently  life- 
less. Her  pluck  was  extensively  commented  upon  in  the  press,  and  many  were  the  flowers  and  anxious 
inquiries  left  at  her  door  by  Mrs.  August  Belmont  and  other  women  admirers  Miss  Juch's  reajjpearance 
was  as  Elsa,  and  the  A/ew  iork  Times  described  the  ovation  by  the  public  and  floral  congratulation,  upon 
which  was  inscribed  the  words  of  the  chorus,  "  Faithful  and  True." 

Miss  Juch,  as  a  concert  singer,  holds  the  first  i)osition  in  America.  No  artist  has  yet  appeared  who 
has  been  so  cordially  welcomed  into  the  concert  field,  and  who  refuses  as  many  offers  of  engagements  as  the 
limitations  of  the  human  voice  permit  her  to  accept.  .She  has  sung  in  the  great  festivals  in  New  York,  Bos- 
ton, Philadelphia,  Cincinnati,  Chicago,  St.  Louis  an<l  San  Francisco.  Upon  the  famous  Wagner  tour  she 
shared  the  honors  with  Nilsson  and  Materna.  The  New  York  Philharmonic,  The  Boston  Symphony,  The 
Brooklyn  Philharmonic,  The  Philadel|>hia  Spmphony  .Society,  The  Thomas  Popuk>r  Concerts,  The  Gericke 
Orchestral  Concerts,  The  New  York  Liederkranz,  The  .St.  Louis  .Saengerfest,  the  great  choral  societies,  all 
have  resounded  with  her  voice  and  rung  with  the  acclaim. 

This  astonishing  work  has  been  accomplished  in  four  years,  Her  voice  is  yearly  developing  in  fullness, 
richness  and  strength,  which,  with  faultless  execution;  winning  presence  and  personal  beauty,  give  rare 
promise  for  the  zenith  of  her  genius.  Miss  Juch  has  nobly  achieved  her  high  station  through  methods  that 
merit  study  by  all  talented  girls.     Loyalty  to  her  calling  is  her  religion. 

To  friends  Miss  Juch  occai^ionally  tells  of  charming  psychological  experiments  showing  the  influence  of 
music  upon  two  pet  dogs,  Bruno  and  Dutchie.  Possessed  of  the  highest  artistic  temperament,  generous  to 
a  fault  in  giving  to  the  unfortunate  and  poor,  no  young  woman  needing  directions  as  to  whither  lie  the  por- 
tals of  the  temple  of  music  ever  yet  failed  to  receive  from  Emma  Juch  as  much  as  was  in  her  power  to  give. 
To  her  beautiful  flowers  are  a  mild  intoxicant.  Hers  is  literally  so  Elysian  a  nature  that  dumb  beasts  and 
children  follow  with  big  eyed  faith,  and  are  happiest  when  near  her.  But  so  are  all  who  once  have  come 
within  the  spell  of  her  wonderfully  sympathetir  vr,\c(-.  ^ 


The  Celebrated  Steinway  Piano  used  by  The  Knima  Juch  Grand  English  Opera  Company. 


GEORGINE  VON  JANUSCHOWSKY. 

Georj^ine  von  JanuHcliowsky  is  well  known  to  tlu'  patrons  of  Kn^lish  open  in  America,  for  her  Ofxratic 
triumphs  ha<'e  been  chroni(:ie(l  from  Maine  to  California,  Horn  in  Austrian- I'oiaiid  she  made  her  debut 
upon  the  stajje  in  Vienna  at  the  famous  "  Theatre  an  der  Wien."  Her  success  was  immediate,  and  engage- 
ments followed  in  ([uick  succession  at  Merlin,  Hamburg  and  Stuttgart.  For  three  years  she  was  engaged 
as  juvenile  dramatic  singer  in  grand  opera  at  the  Stadt  Theatre  in  Leipzig,  and  during  that  time  also  shared 
with  (ieistinger  the  principal  comic  opera  roles.  Her  debut  in  this  country  was  made  with  the  Germania 
Theatre  Company  in  New  York,  and  she  leni  valuable  assistance  in  maintaining  the  great  re|)utation  of  that 
organization,  ajjpearing  both  in  its  c'.ramatic  and  operatic  productirjus  with  such  suicess  that  she  quickly 
attracted  the  attention  of  managrKs  of  operatic  production  in  ICnglish,  and  for  five  years  past,  since  she 
faiuiliarized  herself  with  her  varied  re|)ert(iire  in  Kngli.sli,  her  services  have  been  in  constant  demand  by  Kng- 
lislv>opera  managers.  Her  career  as  prima  donna  of  the  Knglish  tipera  seasons  in  Hoston,  a  few  years  ago, 
showed  her  varied  al)ilities  at  their  best,  and  both  her  dramatic  and  vocal  abilities  were  the  subject  of  uni- 
versal conunendation,  the  production  of  any  opera  with  which  she  was  identified  always  resulting  in  a  new 
triumph  for  this  artist.  Of  noble  parentage,  she  had  all  possible  educational  advantages  in  her  girlhood, 
and  her  intelligence  and  ability  as  a  thoroughly  schooletl  musician  give  much  added  value  to  her  vocal  work. 
Her  most  recent  operatic  successes  have  been  made  as  a  member  of  the  hoston  Ide.ils,  with  which  organi- 
zation she  gained  a  most  jironounced  sucicss  in  the  season  of  iS.S.S-,  n.  Her  appearances  in  the  operatic 
concerts  at  Hoston  Music  Hall  during  the  last  two  seasons,  however,  exccetleil  all  her  form<;r  triumphs  in 
that  city,  for  night  after  night  she  sang  to  audiences  of  grand  proportions,  and  created  a  most  pronounced 
sensation  whenever  she  appeared  She  has  a  repertoire  of  nearly  one  hundred  ojieras,  ranging  from  the 
opera  lomiciuc  to  grand  opera,  and  during  the  season  with  the  Juch  company  she  will  appear  in  many  of 
her  most  successful  roles. 

Mr.  CHARLES    HEDMONDT. 

Hedmondt  is  an  American,  having  been  born  in  Portland,  Me.,  on  the  24th  of  October,  1H57.  His 
father  was  one  of  the  largc;st  dealers  in  valuable  furs  at  that  period,  and  transacted  business  throughout 
New  England  and  Canada.  While  the  subject  of  this  sketch  was  tiuiie  young,  his  father  removed  to  Mon- 
treal, where  young  Hetlmondt  soon  became  noted  a-  an  amateur  foi  his  beautiful  voice.  Having  had  the 
honor  of  singing  before  H.  R.  H.  Princess  Louise  (wife  of  the  Marcpiis  of  Lome,  at  that  time  (iovcrnor  of 
Canada),  her  praise  was  so  enthusiastic  that  Hedmoiult  determined  immediately  to  study  for  grand  opera. 
With  this  intention,  he  proceeded  to  London,  in  1076,  where  he  studied  one  year  at  the  Royal  Acadeirjy. 
From  London  he  |)roceeded  to  Leipzig,  where  he  studied  under  Prof  Gotze,  of  the  Leipzig  Conservatory, 
for  three  years.  At  the  end  of  this  time  he  was  engaged  to  sin^  at  the  Roy.il  Opera  in  Herlin,  and  made 
his  debut  as  Tamino  in  the  "  Magic  Flute,"  His  success  was  nnmediate,  and  he  was  at  once  pronounced 
the  best  singer  in  Germany  of  Mozart's  classical  music.  At  the  end  of  the  year  he  accepted  a  long  engage- 
ment with  Director  .Staegeniann,  of  the  Stadt  Theatre,  Leipzig,  from  wl'ich  engagement  his  release  has  been 
purchased  for  12,500  marks,  in  grder  that  lie  may  accept  the  position  <jf  princip.il  lyric  tenor  of  the  Emma 
Juch  (irand  Opera  Company.  While  in  Herlin,  His  Majesty,  the  Emperor  William  L,  was  a  frequent  at- 
tendant when  Hedmondt  sang,  and  he  iiecame  a  great  favorite  with  the  aged  Emperor.  Hedmondt's  beau- 
tiful voice,  handsome  physi(iue,  and  excellent  acting,  all  pleased  the  German  Emperor.  During  the  seven 
years  that  Hedmondt  was  in  Leipzig  he  sang  in  as  many  as  Xo  different  parts,  which  seems  almost  incredible, 
and  speaks  volumes  for  his  musical  intelligence  and  rajjidity  of  study.  He  sang  these  operas  under  the 
most  distinguished  conductors,  including  Nikisch,  Liszt,  Rubinstein,  Bruch,  Reinecke,  Brahms,  etc.  Many 
European  notables  were  among  Hedmondt's  admirers,  including  the  King  of  Saxony,  the  Herzog  of  Sachsen- 
Altenburg,  the  Herzog  of  Coburg  tlutha,  and  Gross  Herzog  of  .Sachsen- Weimar.  Hedmondt  was  the  soloist 
several  times  in  each  season  at  the  celebrated  Gewandhaus  concerts  in  Leipzig,  also  of  the  musical  festivals 
in  Breslau.  Berlin.  Alteiiburg,  Bremen,  etc  Last  year  he  was  a  soloist  at  the  Bayreuth  Wagner  Festival, 
engaged  to  sing  Walter  Stolzing  in  "The  Meistersinger. "  Mr.  Hedmondt  is  one  of  the  most  brilliant 
young  artists  of  the  times,  and  it  is  a  matter  for  congratulation  that  Director  Locke  has  been  able  to  secure 
his  valuable  services  in  connection  with  the  Juch  Grand  English  Opera. 


Miss   SUSIE   LEONHARDT. 

Miss  Susie  Lconhardt  was  born  in  Offenbach,  Germany,  and  when  quite  young  showed  great  musical 
talent,  and  sang  the  principal  solos  in  the  Cathedral.  When  her  voice  developed  more,  she  took  a  course 
of  vocal  culture  at  the  Hoch  Conservatory  of  Music,  in  P'rankfort,  where  she  enjoyed  the  tuition  of  the  cel- 
ebrated Joachim  Raff.  After  graduating  she  was  immediately  engaged  for  first  parts  at  the  Magdeburg 
Stadt  Theatre,  where  she  remained  for  three  seasons.  She  next  sang  a  star  engagement  in  Braunschweig, 
and  achieved  a  marked  success  in  "  PVeischutz,"  "Undine,"  "Jessonda,"  "Carmen,"  etc. 

Almost  a  year  ago  she  came  to  America  to  visit  relatives.  She  attracted  the  attention  of  a  number  of 
managers,  both  by  her  fresh  and  beautiful  voice  and  her  charming  personality.  She  had  several  flattering 
offers,  but  jireferreri  to  enter  upon  her  career  in  America  in  English  opera. 


The  Celebrated  Steinway  Piano  used  by  The  Emma  Juch  Grand  English]Opera  Company. 


Miss   LIZZIE    MACNICMOL. 


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Mi.Hs  Lizzie  Marnicliol,  the  leadinjj  contralto  of  tlu*  company,  was  horn  in  Washington,  I).  ('.,  in  18(16. 
Shi-  liisl  stndiul  th«-  art  of  "  Cfl  Canto  "  with  Dr.  K.  S.  Kinil>.ill.  of  her  nativ«-  city.  Afterward  >\u'  j>iacr'<l 
hersi'll  inulcr  the  tuition  nf  Si)jiior  Ai;ranuiiitc,  with  wlioin  she  '>in<lic(l  tor  scvtr.il  m.us.  tier  (//on/  nn 
the  (H)Lr.ilic  stayc  took  plac*-  in  IMiihi'lclphia,  in  iSSH,  with  llic  New  American  Opera  l  oinpaMV.  and  slie 
Hoon  necanie  a  prinn  fiMiritc  with  tlic  i/il/i//an/i  ot  llic  City  o(  Miothcrly  l.o\c.  The  i.ilrni  and  laiidaltle 
ambition  ot  tins  voini^  Ain«?rican  cantatrice  arc  illustrated  in  tin-  lact  th.it,  althou){h  she  has  hccii  scircelv 
one  year  on  the  l\ric  sta^c,  she  lias  already  sunjj  most  suciessfnily  the  following  roles  :  A/ucena  in  "  Trov- 
atore,"  Nancy  in  "Martha,"  Oneen  in  "Hoheniian  (iirl,"  Frederic  in  "  Mi^jnon,"  Siehel  in  "l-aust,"  the 
Patife  in  "'riie  lliinnenots,"  l.a/arillo  in  "  Maritana,"  etc. 

Miss  M  icnidiol's  voice  is  a  pini-  and  powerful  contr.ilto  of  ^jreat  r.in^je,  e.xtraordinarv  t)rilliancy  and  emi- 
nently sympatlu-tic  (juality,  and  il  the  work  she  has  alre.idy  an oinplished  so  successhilfv  may  he  »aken  as  a 
criterion  of  her  artistic  abilities,  she  will  soon  occupy  a  t'oremost  place  in  the  jjalaxy  ol  stars  whi  h  already 
adorn  the  lyric  sta^e  of  her  native  l.md. 

In  private  lite  Miss  Macnichol  is  the  wife  of  Mr.  I*ran/  Vetta,  the  b.is.so  of  the  compai?y,  and  their 
hoine  is  in  Washin^jton. 

Mr.  ELVIN  SINCiER. 

Elvin  Sinj^er  was  ixirn  in  Vienna,  Austria,  August  24,  i.Sfij.  His  youth  w.is  spent  in  study,  prejiara- 
tory  to  entering;  upon  a  business  career,  which  he  successfully  aciomplished  at  an  early  aec 

While  occupying  a  prominent  position  in  one  of  lMMo|)e's  larj.'e  insurance  companies,  his  fine  tenor 
accidentally  attracted  the  attention  of  several  pioiiiineiu    .    'sicians.      Atlvised  and  intluenc<'d  by  them,  and 

r)romi)led  also  by  the  ardent  love  which  he  had  always  po    .t  ssed  for   the  ilivine  art  of  music,  he  ;;ave  up 
)usine.ss  and  devoted  si.x  years  to  the  cultivation  of  his  "o    e. 

His  stuilies  were  arduously  pursued  under  the  -■  ircml  instruction  of  the  best  masters  of  Vienna,  Berlin, 
I'aris  and  Milan.     His  celebrated  Italian  tiacher,  '1   not  I uncesco  l.amperii,  said  of  his  voicj!,   th.it  for  a 
tenor  robusto  its  cai)abilities  for  execution,  and  esijccially  for  thiillinj,;,  was  truly  wonderful,  ecpial  to  that  of 
the  mos;    iccomplished  prima  iloima.      His  voice  ranges  c>vcr  two  octaves,  easily  com|)assinn  hij^h  C.and  is 
full,  rAi).  even  and  .sympathetic  ihroujjhout  the  rej^iste   ;. 

Mr.  Sinyjer  has  had  tl.itterinj'  olfers  from  \  lenna,  Berlin,  Cohijjne  and  I,eipsii%  none  of  which  he  cared 
to  acce|)t  beioie  cominj^  to  the  United  .States.  Aineiic.i  is  now  the  chosen  l.md  ot  this  anibftioiis,  talented 
youny  tenor. 

Mr.  frank  pieri. 

Frank  Pieri  be^.m  his  musical  career  when  a  boy  of  extremely  tender  a^e,  at  the  world-renowned 
Convent  ( iardeii  Theatre,  l.on(K)n.  He  was  at  that  perioil  ])ossessor  of  a  marvelous  hij^h  soprano  voice  that 
elicited  the  enthusiastic  plaudits  of  all  wl;o  listened  to  it.  His  fame  spread,  and  liefore  lon^j  younv;  Pieri  had 
accorded  to  him  the  distinction  of  bein^  invited  to  appear  i)elore  (.hiecn  X'icloria  and  her  family.  He  sanjj 
the  famous  "  I'na  \'oci' "  from  the  Barlter  ot  .Seville,  with  such  artistic  delicacy  and  intensity  of  t'eelin^  that 
the  delij^hted  i|ueen  personally  reijuested  him  to  sinj^  l(>r  her  aj^ain  at  the  Balmoral  Castle.  Mr.  i'ieri  soon 
afterwards  received  his  commi.ssicjn  as  midshipman  in  the  l-.n^lisii  navy,  where  he  served  two  years.  On 
leavin^r  the  navy  he  studied  at  the  Academy  in  Paris  tor  some  time,  ami  thereaftei  was  a  [irominent  figure 
ot  all  the  princi])al  musical  festivals  and  concerts  thnjutrhout  (ireat  Britain  and  Irelaiul.  Mr.  I'ieri  came  to 
this  country  several  v'ears  atjfo  to  take  up  his  residence,  and  since  then  has  been  associated  with  the  leading 
operatic  and  concert  companies,  hi.s  last  engagement  being  with  the  American  ( )])era  Com|)anv-  His  tenor 
voice  is  one  of  great  sweetness  and  com|)ass,  always  skilfully  handled  and  artistically  controlletl,  while  his 
histrionic  ability  is  not  in  the  slightest  degree  inferior  to  his  vocalistic  attainments. 

Mr.  E.  N.  KNIGHT. 

Mr.  F.  N.  Knight,  the  bas.so  buffo  of  the  company,  was  born  in  Boston  in  1.S54,  and  is  an  artist  of  con- 
siderable stage  experience.  He  first  embraced  the  lyric  career  in  iHjy.  when  he  became  a  leading  member 
of  the  Melville  Opera  Co.,  in  San  Francisco.  \/hile  in  the  Golden  City  he  studied  for  several  years  with 
Signor  G.  Mancusi,  once  a  celebiated  baritone  and  now  a  very  [xjpular  teacher  of  the  "bel  canto  "  in  that 
city. 

Mr.  Knight  joined  the  National  Opera  Co.  in  i8S6,  and  became  a  leading  member  of  the  New  Ameri- 
can Opera  Co.  in  18.SH.  His  repertoire  comprises  no  less  than  eighty-four  difTerent  operas,  which  fact 
speaks   volumes   i:.   favor  of  his  talent  and  versatility.     In  the  long  list  of  operas  in  which  he  has  played 

Krincipal  and  prominent  roles  are  :     Frmain,  Lucia.  Trovatore,  Rigoletto,  Faust,  Linda,  Ballo  in  Maschera, 
lartha,  Sonambula,  Maritana,  Bohemian  Girl,  Traviata,  etc.,  etc. 

Mr.  Knight  is  a  conscientious  artist,  full  of  genuine  mirth,  and  always  very  popular  on  the  stage.  He 
is  one  of  the  rare  lyric  comedians  who  can  really  sing,  and  his  ability  is  proverbial  in  the  operatic  world. 

The  Celebrated  Steiuway  Piauo  used  by  The  Emma  Juch  Graud  English  Opera  Company. 


1 


'  Mr.  FRANZ  VETTA. 

Mr.  Franz  Vetta,  the  leading  Bassq  of  the  company,  although  comparatively  a  young  artist,  has  a 
record  second  to  none  among  the  bassos  of  the  age.  He  was  born  ia  Camden,  N.  J.,  in  1862,  and  the  marked 
success  he  has  achieved  since  the  beginning  of  his  lyric  career,  in  Europe  and  m  the  United  States,  has 
placed  him  in  the  Iront  ranks  of  American  operatic  singers.  A  brief  sketch  of  his  artistic  life  will  show  in  a 
conclusive  manner  that  Mr.  Franz  Vetta  has  alreadv  been  heard  at  some  of  the  principal  theatres  of  the 
world  in  connection  with  lyric  artists  of  the  highe,>^  reputation  and  standing.  He  commenced  his  vocal 
studies  with  Mr.  Aaron  Taylor,  of  Philadelphia.  Later  on  he  went  to  Paris  and  placed  himself  under  the 
tuition  of  the  famous  contralto,  Mme.  Lablache,  daughter  of  Luigi  Lablache,  one  of  the  greatest  bassos  (if 
not  the  greatest)  that  ever  lived.  He  continued  his  studies — vocal  and  dramatic — with  Mme.  Lablache 
until  1884,  when  he  became  a  member  of  Her  Majesty's  Opera  Co..  under  the  direction  of  Col.  Mapleson, 
at  Her  Majesty's  Theatre,  London,  where  he  remained  until  1886.  During  that  year  he  sang  Mephistoph- 
eles,  the  night  of  the  memorable  performance  of  Faust,  in  which  Patti,  Trebelli,  Mme.  Lablache  and  De 
Anna  took  part,  and  which  created  a  furore  in  London.  In  1887  he  was  engaged  as  leading  basso  with 
the  National  Opera  Co. 

Mr.  Vetta' s  Repertoire  is  very  e.xtensive,  comprising  Mephisto  in  Faust,  Casper  in  Freischutz,  Saras- 
tro  in  Magic  Flute,  Marcel  in  the  Huguenots,  Leporello  in  Don  Juan,  Balthazar  in  Favorita,  King  in  Loh- 
engrin, Daland  in  Flying  Dutchman,  etc,  etc.,  forty  in  all,  and  in  each  of  his  roles  he  has  invariably 
received  the  emphatic  enuorsement  of  the  audience. 

His  voice  is  of  extraordinary  power,  round  and  brilliant  in  quality,  and  it  can  be  emphatically  affirmed 
that  Mr.  Vetta  is  to  day  the  representative  bassoprofundo  of  the  American  lyric  stage. 


Mr.  ADOLF  NEUENDORFF. 


Thiseminent  Musician,  Composer  and  Musical  Conductor  has  had  a  long  and  varied  experience.  He 
was  born  in  Hamburg,  Germany,  June,  1843,  came  to  the  United  States  in  1855,  and  has  since  grown  up 
with  the  musical  life  of  New  York  city  in  the  distinguished  company  of  Bergmann,  Anschutz,  Theodore 
Thomas,  etc.  •  Has  been  Musical  Director  and  Conductor  of  the  prmcipal  German  Opera  Companies  since 
the  year  1864.  His  first  experience  as  conductor  was  with  Mr.  Leonard  Grover's  German  Opera  Company, 
which  was  the  first  organization  of  the  kind  that  made  the  tournee  of  the  United  States;  was  manager  for 
many  years  of  the  New  York  Germania  Theatre;  conductor  of  the  New  York  Philharmonic  Society  during 
the  season  of  1878-79,  and  was  the  manager  who  introduced  the  famous  German  Tenor,  Herr  Wachtel,  to 
the  American  public;  and  in  conjunction  with  the  late  Carl  Rosa,  piloted  that  very  popular  artist  through 
the  United  States  with  considerable  eclat,  the  season  being  brought  to  a  triumphant  termination  by  Wachtel 
appearing  in  conjunction  with  Parepa-Rosa,  Santley  and  Adelaide  Phillipps  at  the  Academy  of  Music,  New 
York,  in  the  most  memorable  operatic  season  of  the  period.  In  the  year  1877  he  was  the  musical  director 
and  conductor  of  the  Wagner  Opera  Festival  which  created  such  a  stir  in  the  musical  circles  of  New  York 
and  Boston.  He  inaugurated  and  has  conducted  for  the  last  five  years  the  Summer  Promenade  Concerts 
at  the  Boston  Music  Hall.  His  operatic  experience  and  his  eminent  position  as  a  musical  conductor  ren- 
ders him  a  valuable  acquisition  in  every  department  of  opera,  and  the  management  of  the  Juch  Opera  Co. 
congratulates  itself  in  securing  the  services  of  so  able  a  coadjutor. 


., 


?• 


I 


GIOVANNI  TAGLIAPIETRA. 

Signor  Taglinpietra,  the  famous  Italian  Baritone,  is  too  well  and  favorably  known  to  need  but  a  brief 
introduction.  His  name  has  been  a  household  word  in  America  since  his  debut  here  with  Albani,  under 
the  direction  of  Max  Slrakosch  in  1875.  During  the  fifteen  years  of  his  operatic  career  in  this  country, 
Tagliapietra  has  been  associated  and  shared  honors  with  nearly  all  the  great  artists  who  have  been  heard 
here  in  that  period,  including  such  names  as  Tictjens,  Belloca,  Litti,  Albani,  Patti,  Gerster,  Nilsson,  Di 
Miirska,  Phillips,  Cary,  Scalchi,  etc.  He  has  sung  with  unwavering  success  in  nearly  every  city  in  Amer- 
ica, South  America  and  Europe.  Tafjliapietra  is  not  only  renowned  for  his  magnificent  baritone  voice,  but 
for  his  histrionic  talents  as  well.  An  eminent  critic  writing  of  one  of  his  recent  impersonations,  says  :  "  He 
is  a  born  actor  and  a  natural  one.  It  is  in  the  role  of  Rigoletto  that  he  shows  his  wonderful  powers  to  best 
advantage,  and  as  far  as  acting  is  concerned,  no  one  save  Eedwin  Booth  in  the  '  Fool's  Revenge,'  can  ap- 
proach his  ma.sterly  and  consistent  portrayal  of  this  character.  To  him  belongs  the  honor  of  being  the  finest 
actor  on  the  lyric  stage."  His  repertoire  includes  nearly  all  the  leading  standard  baritone  roles  belonging 
to  the  Italian  and  English  Grand  Opera  stage  His  accession  to  the  ranks  of  the  Emma  Juch  Company  is 
but  of  recent  occurrence,  and  has  been  attended  by  the  heartiest  of  appreciation  from  the  patrons  of  this 
successful  organization. 

The  Celebrated  Stein  way  Piano  used  by  The  Emma  Juch  Grand  English  Opera  Company. 


L 


qav 


— u 


4 


I  RASA    IJS'//r. 
Messrs.  STEINWAY  &  SONS: 

(ii;Ni-^.  1  ir  ii),ij4iili(  ( lit  S 1 1-.  1 N v\  A\  I  ir.iiui  Pi.iiio^idw  ht.iml>  ill  niv  inu>ii; 
rcoiii,  ami  [)itMni>  a  liarmoiii,  lolalitv  ol' odiiiirahic  (jualitii-s,  :i  detailed  (•luinicr.itinii 
of  \vlii(li  1^  tlie  more  Mii)filluiMi-  a-,  this  iii-tnimiiit  liilly  iiistilic^  ilic  woiiii  u  idc  if|)- 
iitaliiin  tliat  tor  yi'ar.s  yoii  liavf  i'\t'rvwlu  rr  (.•iiiii\-i'(l. 

Alter  so  miicli  wfll-dcservcd  jiraisc  jn  iiiiit  me  also  to  add  iii\-  lioinatje,  and  tlic 
expression  of  my  iinilisj^uisetl  admiration,  with  \\hi(li  I  remain, 

\'ery  sinrereh'  yours, 

IRAN/.   I.I/.T, 

.1 A  ro.V  Rriil.\STliL\. 

Ni  w  N'liKK,  May  24.   i>i7,^,. 
Messers.  STEINWAY  &  SONS: 

( ii-.N  i'i.iM';\  :  ( )n  tile  e\e  of  returning  to  iuiroiie,  I  deem  it  my  jiUasant  ilnty 
to  express  to  yon  m\-  most  heartfelt  thanks  f(jr  all  the  kindness  and  courtesy  \on 
have  shown  me  durinj4  my  stay  in  tlie  I'liited  States;  but  also,  and  above  all,  for 
your  unrixaled  Piano- I'orles,  which  once  more  have  done  full  justice  to  their  world- 
wide reputation,  both  lor  excellence  and  capacity  of  endurinj;  the  severest  trials. 
I'or  durinjj  all  m\  lonj^  and  difficult  journeys  all  over  America,  in  a  \-ery  inclement 
season,  1  used  and  haxc  been  enabled  t()  use,  y(jur  Pianos  exclusively  in  my  Two 
Hundred  and  Fifteen  Concerts,  and  also  in  jirivate,  with  the  most  eminent  satisfac- 
tion and  effect. 

\'oiirs  \erv  truly, 

ANTON  RUBIN'S  ri;iN. 


THHODORi:  THOMAS. 

CiNCINN.M'l,  July    Kjtll,    1871). 

Messrs.  STEINWAY  &  SONS: 

(iKNTi.KME.N  :  I  Consider  the  Steinway  Piano  the  best  Piano  at  present  m.tde, 
ai'd  tint  is  the  reason  why  I  use  it  in  private  and  also  in  a'l  my  public  concerts. 

As  Iouil;  as  the  Pianos  of  Messrs.  .Steinway  iS:  Sons  retain  that  liii;li  degree  of 
excellence  of  manufacture,  and  those  ailmirable  qualities  which  h.iv'  always  dis- 
ti-ipuislied  them,  I  shall  continue  to  use  them  in  preference  to  all  other  Pi.inos. 

Res])ectfully  yours, 

THEODORK  THOMAS. 


"~  >^ 


\ 


H 


STEINWAY 


jS^ 


GRAND  > 
'^PIANOS 

^ 


mi. 


UPRIGHT  > 
:  PIANOS 


The   rfcoj;iii/(.ii    Mntuhii'l    Piiitios  of  Uu-   woiM.  pit  cniiiu-iitly   thi-  l>c>t  iiiMiutufm^  ;a  itrr-^tnt   m;nii'.  rxportctl 
lo  aiut  M.M  Ml  itll  an  Lfiilit-'  ni  tht-  ^lulic   prttiivrd  foi   pi  ivulf  ami  imhlii-  ust-  by  tlit-  ^rtatt-M 
hviuK  aiti'^ts.  aii<l  tti'lur>ii.Ml,  ani'tti>i  Immliciis  of  i»tlu-r.s,  l>y  such  as  :" 


RICHARD  WAGNER 

FRANZ  LISZT 

ANTON  RUBINSTEIN 
HECTOR  BERLIOZ 

FELICIEN  DAVI9 

ChARLES  GOUNOD 
AMBROISE  THOMAS 

THEODORE  THOMAS 

A  OREySCHOCK 
STEPHEN  HELLER 

AOOLPH  HINSELT 

ALFRED  JAELL 

JOSEPH  JOACHIM 
RAFAEL  JOSEFY 

MORIZ  ROSENTHAL 

CONRAD  ANSORGE 
THEODORE  LESCHETIZKY 
FRANZ  RUMMEL 

A  MARMONTfL 

WILLIAM  MASON 


S.  B,  MILLS 

J.  MOSCHELES 

ALBERT  NIEMANN 
NICOLA  RUBINSTEIN 

CAMILLE  SAINT-SAENS 

ANTON  SEIDL 
W.  TAUBERT 

RUDOLF  WILMERS 

CARL  BAERMANN 

CARL  WOLFSOHN 


\M»    H\     MI.Sn.XMKS 


ADELINA  PATTI 

ETELKA  CERSTER 

TERESA  TITIENS 
ANNETTE  ESSIPOFF 

ANNA  MEHLIG 

MARIE  KREBS 
ADELE  AUS  DER  ORE 

PAREPA  ROSA 

MINNIE  HAUK 
EMMA  JUCH  &C  &C 


ILLUSTRATED  CATALOGUES  MAILED  FREE  ON  APPLICATION, 

STEINWAY  &SONS, 

Warerooms,  Sieinway  Hall,  107-1 II E.  I4tti  Street,  New  York. 

STEINWAY  Hall,  I  STEINV/AY'S  FIANCiaBRIK, 

18  Lo\Aer  Seymour  St.,  Porlmaii  Sq.,  W..  St.  Pnuli,  Neiie  Roseii-Strnese,  20-24, 

LONDON,  ENVLAND.  IIAMBrH*^.  4iiKR9IA\'V, 

THK  LEWIS  k  DKVDKN  I'RIKTI.Ni;  CO.,  rORTLANH,  OHBC.ON. 


